Titanfall - Review (Xbox One)

It’s loud, rambunctious, audacious and quite frankly, rather fun. Delivered by the guys who transformed the online first-person shooter with the Call of Duty franchise, Titanfall is the latest bombast mash-up of grandiose campaign and multiplayer madness to hit the gaming sphere. 

Published by Electronic Arts and developed by newly created Respawn Entertainment, (founded by the original architects behind the Call of Duty creator, Infinity Ward) Titanfall pits players into a futuristic backdrop titled, The Frontier. Earth has been all but left behind and now generations of humanity are residing in the deepest reaches of space. Players are dropped into the distant frontier, which is currently being ravaged by war. A persisting conflict between the Interstellar Manufacturing Corporation, (IMC) a massive industrial company seeking to enrich further resources and the Frontier Militia, a combination of colonists, mercenaries and pirates collectively rising together as citizen solders, discontent with the IMC’s exploitation of the Frontier.      

The story allows players to compete in both, the IMC and the Militia and is integrated across nine maps and two modes of play; Attrition, which is essentially Team Deathmatch, and Hardpoint Domination, where you acquire points for holding three capture points, titled A, B and C respectively. Throughout the campaign commanders and officers appear in a small video link in the right of your screen helping the story to evolve, blaring objectives and bickering amongst themselves in an assortment of stereotypical personalities and accents, from cavalier Americans to a grouchy Londoner, who sounds very much like Idris Elba. Though the story draws on noticeable parallels with Killzone and Red Fraction, it is more than adequate for a first-person shooter and to be perfectly honest, few people have turned their attention to Titanfall for a well scripted, engaging and original story. 

Instead, Titanfall provides gamers with an ultra fun and incredibly fast and fluid multiplayer-only experience with the emphasis on killing the opposition, achieving varied objectives and gaining experience points, enabling your character to level up and in doing so, unlocking superior gadgets and weaponry. It may sound all too similar to the creator’s other famous shoot-em-up franchise, however Titanfall has a few fundamental differences, the main one of which is given away in the title. Yes, the Titans themselves. Piloting these giant 20-foot robotic war machines that burst down from the sky and allowing you to clamber aboard and stomp around the terrain, brawl with other Titans and crushing the infantry on the ground provides many hours of riotous fun. Not just inferior with its size, each titan is equipped with it’s own array of weapons including a Quad Rocket, Plasma Railgun and an Arc Cannon as well as armed with a Vortex Shield, allowing you to catch projectiles fired at you and returning them straight back at the enemy.  

Though the magnitude of the titans may seem unconscionable when fighting on the ground, you will be forgiven for thinking being on foot plays second fiddle to piloting these mechanical monsters. However when you are not in your titan, you are efficiently equipped with anti-Titan weapons, a jet pack allowing you to chain together wall jumps and tactical abilities including an invisibility cloak. One of Titanfall’s best features is the simplicity of movement around each level. Reminiscent of 2011’s Brink, which incorporated a first-person shooter with parkour-style movement, Titanfall excels with a great fluidity of action and warfare across each map, allowing users to be in the thick of the action throughout the entire performance.     

Visually, Titanfall looks sublime on Xbox One, with crisp, sharp and gorgeous environments bestowed for all to see, though due to the chaotic carnage proceeding all around, you probably wont have too much available time to take all of it in. On looks alone, Respawn’s debut is a gorgeous-looking attempt however; it doesn’t feel like a truly next-generation benchmark setter, especially with the potential capabilities of the next-gen consoles. The graphics max out as expected in alluring beauty with HDR lighting and polished detail, but the game itself doesn’t incorporate particular features that would have elevated Titanfall to the top of the tree of online shoot-em-ups. No destructive scenery, evolving maps or even any movement of terrain or vegetation. Ok, that might be asking too much of a first endeavour from Respawn, but they may have missed a trick in fundamentally separating Titanfall completely from other multiplayer-based shooters such as Battlefield or Call of Duty. Because of this, visually, Titanfall is more evolutionary rather than revolutionary.     

Another criticism of Titanfall is the game’s unimaginative inclusion of tried and tested multiplayer modes. Again, Respawn have missed a trick here in really aiding the game’s next-generation feel with game structures and modes that remain all too recognisable, too cautious and convenient compared to it’s blistering and innovative gameplay. Attrition is basically Deathmatch, Capture the Flag is available on nearly every-single first person shoot-em-up game and Pilot Hunter is just Deathmatch where players can only gain points by killing other pilots rather than destroying Titans and grunts. The most inventive mode available is the Last Titan Standing option, which pits players in a Titan as soon as the game commences with the aim to kill off your opponents and remain as the only Titan still operating at the end of the round. Including traditional multiplayer modes isn’t the worst idea imaginable and it’s never bad to feel nostalgic and to reminisce over classic multiplayer modes, but the lack of originality in Titanfall’s multiplayer is another deficiency that holds it back from becoming a genre-revolutionary game.   

Overall though, the underlying experience of playing Titanfall is one of revitalisation and reinvigoration, taking a familiar FPS formula and making it feel contemporary and dynamic, though it's a shame it relies so profoundly on the familiar. The game modes, arsenal, sprint speed are all derived from some of the most successful online shooters of recent times, but by renovating the way you move across maps, Titanfall fully reinvents what it feels like to play and compete in a recreational shooter. It ticks all the boxes on how a game should really be; fun, easily accessible and worthy enough for you to come back for more. The high-octane action intertwines fantastically well with the muscular, tactical titan battles, creating mass-scaled battlefields that prosper in indulgence and possibility. Titanfall, though not in such a leap that may have been expected before its release, is still a commendable surge forward for the online shooter, combining the energetic and new with the tried and sincere to establish something extremely fun and entertaining. Not without it’s issues, Titanfall remains as the most important exclusive for the Xbox so far and with an inevitable sequel in the minds of it’s makers, these concerns will no doubt be amended next time. But until then, Titanfall remains one of the most enjoyable and invigorating shooters the genre has seen in years.    

  

   

Black Stone Cherry Magic Mountain

Ignore the album title, (because lets face it, it’s pretty awful) Black Stone Cherry’s fourth instalment in their admirable crusade of southern hard rock, is a commendable effort and a decent listen. Released via Roadrunner records and produced under the expertise of veteran rock architect Joe Baressi, (QOTSA, Bad Religion, Soundgarden) Magic Mountain sees the Kentucky foursome return with fresh material invoking similar attributes of their previous efforts; brash down-tuned guitar hooks, quick-paced fretwork, melodic and harmonious choruses and that signature southern rock sound stapled forcefully down since their debut eight years ago. 

Since their self-titled debut, the band have solidly enhanced their hard rock repertoire, along with successful tours with Lynyrd Skynyrd, Whitesnake, Alter Bridge and Bad Company and prominent appearances at the Download festival, Black Stone Cherry have earned a devout following across the UK and US. Regarding their third release, Between the Devil and the Deep Blue Sea, many argued they had swapped their unique sound and focused on a radio-friendly approach. To quote a favourite term from music fans, it was disputed that they had “sold out.” That said, Magic Mountain musically is much closer to their first two albums. Reminiscing that harder-edged rock sound that won them much praise earlier on in their music careers, the sound in BSC’s latest release, is very similar. Equivalent to what was probably expected from their fans, more importantly, the album is just as entertaining to listen to as their first two offerings.

The album opener, “Holding on…to letting go,” commences the record with trademark unapologetic, brutal and down-right heavy riffs before unleashing a high tempo chorus and energetic breakdowns. Immediately follows is “Peace Pipe,” a groove-laden anti war number featuring smooth vocals from front-man and lead guitarist Chris Robertson and exhibiting an impressive guitar solo. Magic Mountain continues to throw up dynamic rock anthems; “Bad Luck & Hard Love,” “Fiesta del Fuego,” and “Never Surrender,” with the former executed with Alter Bridge-like precision and exactitude and heralding one of BSC’s most impressive riffs to date. “Me And Mary Jane,” combines blues-inspired licks with the band’s formulaic modern rock sound, showcasing the edgy, hard rock swagger that separates them from the likes of Nickelback and Theory of a Deadman. Though the song is simple and uncomplicated, it still kicks a serious bite, with unashamed arrogance and aplomb and shrewd use of production effects, it will no doubt become a firm favourite on rock radio stations. As with previous efforts, BSC still have a soft spot for rock ballads with “Runaway” and “Sometimes” holding the sentimental flag through Magic Mountain. The stripped-down  “Sometimes,” is one of the highlights on the record, drawing parallels in sound with Pearl Jam, the tender ballad is a timely reminder of how impressive BSC are at pausing the high-octane rock and roll sound and expressing a more affectionate side.

Though Magic Mountain is an impressive effort, the album does have its flaws, which in turn prevents it from matching or bettering BSC’s first two records. Once the 13-song compilation is concluded, it feels certain songs should not have been featured and that more focus should have been paid in seeing a far more accomplished package of songs constructed. The title track of the album is a weak link, suffering from repetitive song structuring and bedlamite lyrics and lacking artistic merit. If it was an extra or a B-side track then it would probably go unnoticed, however the title track of an album of this magnitude should be far stronger and more imaginative then “Magic Mountain.” “Hollywood in Kentucky” and “Dance Girl” are also examples of BSC losing slight focus on constructive and original song writing. Both tracks incorporate stereotypical and at times futile lyrics, disappointing considering the band’s usual erudite and polished core on lyric writing.     

Despite this, BSC’s fourth album is a welcome return to form from a quartet very much assured in their continued presence within the 21^st Century’s selection of hard rock acts. The record showcases the band members at the peak of their playing abilities. Chris Robertson’s vocals throughout Magic Mountain are as dominant as always, proving why he is currently one of the best in the business. Ben Wells on rhythm guitar adds to the great dexterity of BSC’s riff-making process and provides an excellent backup to Robertson’s lead playing. On bass, Jon Lawhon, is as prominent as ever, just like in previous albums, his lusty and resounding grooves really power the music to a greater level. Drummer John Fred Young, BSC’s secret weapon with his belligerent, aggressive and masterful force behind the kit, comprehensively induces all elements of the heavy rock genre that Black Stone Cherry lives and breathes by. Magic Mountain might not be the band’s landmark album that will empower them into rock and roll history, though it is still an excellent attempt from a band continuing to elicit powerful and enjoyable rock music to fans of this genre. Black Stone Cherry are better than most modern acts in displaying their own character and distinctive nature within their music and Magic Mountain is no different. Notably enlisting passion, depth and full-force rock and roll from start to finish, BSC’s latest instalment, though not defining their evolving legacy, will certainly help to prolong it.     

  

Kevin Pietersen - The Divided Issue

Just over a week has passed since the ECB’s decision to rid cricket fans of one of the most talented batsmen the game has produced and still a definitive explanation for his dismissal has yet to be announced. Evoking plenty of speculation, social media reaction, fervent support from a media mogul and vigorous arguments on either side of one of the most contentious debates in Cricket’s long history, yet still no one but the officials in charge of the national side know the full reasons behind the release of their star player. For those who have been living under a rock for the past eight days and are unaware of England’s latest bewildering issues following The Ashes debacle, here it is in a nutshell; Kevin Pietersen’s flamboyant and highly controversial England career was concluded by the ECB last Tuesday.

In an international career spanning ten years, comprising of exhilarating innings, extraordinary shot selection and brandishing a pugnacious style that has transformed this most calming of sports, Kevin Pietersen’s England stay was as problematic as it was brilliant. However his undisputed ability was unable him to save him from the England stalwarts and Pietersen was shown the door, following the footsteps of his team director, Andy Flower the week before. Just as with the departure of Flower the proceeding week, there was no news conference or interviews and therefore no chance or opportunity to ask justifiable and warranted questions behind the reason to jettison such a prestigious talent. Instead what has been left is a series of extremely brief and terse scripted statements from England’s governing body, causing excessive rumour and conjecture. Instead of thoroughly explaining the matter, the ECB’s static stance of not elaborating reason has caused many assumptions and claim and counter-claim, leaving a sour taste in the mouths of cricket followers, scratching their heads wondering what on earth is happening.

After the statement reading that Pietersen’s contract was axed with no discernible explanation, media coverage was full frontal. Twitter exploded with Piers Morgan in particular waving the flag for Pietersen creating the hashtag “#ECBClowns,” the back pages of every national newspaper dominated the dismissal as did Sky Sports, including a noteworthy tribute to the South African-born batsman; Kevin Pietersen, his finest innings and even sympathy from the Prime Minister. Journalists and ex- players, English and international got involved as did huge number of cricket fans the world over expressing their views on the decision, some in support, most strongly disputing that the ECB had got it completely wrong. With such media backlash, the ECB was forced to front up, explain and validate the truth behind Pietersen’s exit. Five days later a joint statement with the Professional Cricketers’ Association was released stating that Pietersen's international career was ended so captain Alastair Cook could create a culture where players trust each other. It went on to defend the ECB’s absence of explanation and that it had “been a matter of great frustration that until now the ECB had been unable to respond to unwarranted and unpleasant criticism of England players and the ECB.” Despite a vague summary of the departure, the statement was a huge disappointment and only caused more of an obstacle and dilemma on this increasingly embarrassing predicament. For many of us demanding clear-cut reasons for Kevin Pietersen's departure, the statement did very little to enhance understanding and improve moral towards the ECB. Seemingly a reaction to the criticism, which has been directed at the ECB from many sources outside the game rather than a diligent list of reasons for Pietersen’s exit, the statement only went on to defend the integrity of those who have come under what they have described as unwarranted and unpleasant criticism.

While not elaborating on specific events, no single flashpoint or confrontation, it was deemed by Paul Downton, England’s new managing director that the necessary trust required to propel the England team functioning well was disintegrated by a series of minor incidents. One incident in particular surrounds Pietersen’s apparent disagreement with Andy Flower in a team meeting following the Fourth Test at Melbourne, which led to his relationship with the former team director breaking down completely. Though trust and team ethics is a fundamental part of team sports, it appears strange the mutual trust which Pietersen spectacularly broke in 2012 when he sent derogatory messages about England captain Andrew Strauss, to the touring South Africans was forgiven but this is not. Following his retirement after the third test Graeme Swann told the media that rumours of rifts in the dressing room were completely made up and that Pietersen’s behaviour had improved drastically since the “textgate” episode in 2012. With Andy Flower out of the picture and appearing to take the responsibility for the Ashes humiliation, it is hard to fully understand the exit of England’s best player too. If Pietersen was this self obsessed, arrogant and far from team player why wasn't this scripted in a dignified and appropriate manner within a statement by the England Cricket Board? If he was this troublesome and abstruse character in the dressing room why was he allowed to play in all five test matches of the Ashes? Everywhere Pietersen has gone he has proved to be a decisive individual, whether it was in his native Natal side in South Africa or during his county career at Nottingham, however his brilliance on the pitch and ability to play unthinkable innings outweighed his troublesome personality. The ECB was responsible for this decision and to adequately explain the exact reasons why. Instead they brandished a dissembling, self-justification and a futile exercise in damage limitation, showcasing a governing body obsessed with image and presentation rather than achievement.     

Despite the belligerent nature surrounding Pietersen’s exit from the international scene, it will be a great shame, not just to England but world cricket that he won’t be performing in his adopted country’s colours again. Casting his inconvenient issues aside, world cricket will be robbed of one of the most talented batsmen to grace the game. Pietersen was the outsider from South Africa who attracted people to cricket. His talent made people sit up, exit the bars in cricket grounds around the world and watch in amazement as he tore apart some of the best bowlers in the world with minimal effort. His talented nature appeared different, rare and peculiar to those of us with lesser ability, who would imagine ourselves with an inch of his genius guarding it in a jealous fit, however Pietersen demonstrated it on the world stage and could not have batted the way he did without being the man he is. There were some batsmen more proficient and skilled, but his instinctive ingenuity and originality pushed him to a higher level, becoming possibly the most feared all-round batsman in the world. His game was based on creativity and immense power and it's no exaggeration to say that he caricatured the level of batsmanship, along with the likes of Chris Gayle of the West Indies and Virender Sehwag of India, creating a whole new dimension of stroke play. His stats elate to an impeccable career: 8,181 runs at an average of 47 in 104 Tests, 4,440 runs in 136 one-day internationals, 1,176 runs in 37 Twenty20s. He is England’s leading run scorer in Internationals, the fastest man in terms of time to reach 7000 Test runs, he has more Test appearances than Wally Hammond, Ted Dexter and Peter May, a higher Test average than David Gower, Geoff Boycott and Colin Cowdrey, and second only to Alastair Cook with most Test centuries for England. His career will never be seen as complete and his talent has certainly not been wasted. As of today The Delhi Daredevils have paid £800, 000 for his signature and a return to the IPL. Now not committed to England duty he will become a Twenty Twenty mercenary across the globe and after the way the ECB have treated the issue, who could blame him? Pietersen's legacy is not one of numbers, but what his batting has meant to those who have watched it. Three players will be in line to take his position in the Test side: Eoin Morgan, Gary Ballance and James Taylor. All three will be pushing for selection, but not for many years has the England team looked so exposed and weak. If results don’t go England’s way, a new scapegoat will be made, this time not Pietersen but instead the people responsible for his departure.

England facing defeat after shocking batting collapse

After three and a half Test matches into this Ashes series down under, Australia’s superior brand of cricket and England’s sorry surrender of the urn have resulted in the travelling side’s meek circumstances described as dub metaphors; “ a sinking ship” and “wheels falling off the wagon.” However on the fourth day of the fourth Test in Melbourne, England somehow managed to rip up those clichéd figure of speeches and rewrote some of their own as they crumbled spectacularly to practically gift Australia impending victory and with it an emphatic 4-0 lead.

So often during this arduous tour, England have produced such weak showings with bat, so dire in execution and clueless in application that it’s been a surprise Captain Alastair Cook hasn't risen a white flag from his side’s dressing room and handed The Ashes earlier to Aussie counterpart Michael Clarke without having to witness his side’s dismaying showings on the pitch. However today saw the worst of England’s batting displays, not just during this series but also for as long as many can remember. England may have perished before in the past to sides blessed with some of the greatest bowling talent to have played the game, however today England’s batting line up managed to be taken apart by a spin bowler, who didn't spin a single ball and to whom only three years ago was part of the Adelaide Oval ground staff. The bowler in discussion is Nathan Lyon, who finished with five wickets on a pitch that exhibited no turn or spin as England’s batsman gifted their wickets away to be bowled out for a paltry 179. An all too familiar batting display left Australia just 231 runs to complete victory and move within a match of a series whitewash.  

Without discarding anything away from the hosts who have played some sublime cricket during this series and who have been miraculously rejuvenated under coach Darren Lehmann, England (who came into this series as strong favourites) have irrevocably played to their own downfall in astonishing fashion. Leading into this Ashes tour, the visitors had successfully defeated Australia in resounding fashion home and away and had only lost two Test matches to the old enemy since 2009. However fast forward nearly four completed Tests down under and England have already lost The Ashes, are within sight of being defeated for a fourth time in a row, have lost two key players, (one to retirement) and still haven’t managed to score more than 400 runs in a single innings, a barren run that stretches back to March this year.

As abject as the scorecard suggests it makes it even harder to accept that before England’s now seemingly routine batting collapse, the visitors were in a position of strength the day before. With Australia resuming in the morning on a precarious 164-9, England just had to remove form batsman Brad Haddin to commence their second innings and build a substantial lead. However the wicket-keeper-batsman and number 11 Lyon had other ideas, adding 40 quick runs, with Haddin last man out for another crucial rearguard innings of 65. It left England with a lead of just 51 but with a considered and determined approach to batting, there was no reason why they couldn't construct a sizeable lead and give themselves a great opportunity to record their first victory in the series. The innings started promisingly as Cook commenced with an assured manner, racing along at almost a run-a-ball with a string of confident boundaries and passing 8,000 Test runs, the youngest man in history to do so. However after completing his 35^th Test half century, Cook was first to go with the lead on 116. Mitchell Johnson accounting for the England Captain with some late in-swing from over the wicket and striking halfway up his front leg to be lbw.

Cook’s wicket brought in young Joe Root who almost followed his skipper straight back into the dressing room only to be reprieved when his review ruled that he had not edged behind off the bowling of Johnson. However England failed to make use of the advantage, as Michael Carberry was first to go, lbw off the bowling of Peter Siddle for 12 before Root was run out by Johnson after gambling on a quick single. With 86 on the board, with the loss of three wickets and a lead of just 137, it was imperative that England’s two most important batsmen, Kevin Pietersen and Ian Bell played sensibly and recover from a shaky position. Despite this requirement, Bell perished first ball as he lazily pushed a straight ball from Lyon into the hands of Johnson at mid off. It meant that England had lost three wickets in six balls for just one run, yet again their batting frailties letting down the hard graft of their bowlers. In Pietersen, England had a glimmer of hope, playing with both discipline and skill and rotating the strike well in between flaying the ball around with some magnificent boundaries. In partnerships with Ben Stokes and then Jonny Bairstow, Pietersen guided the visitor’s score to 173, a lead of 224 before history repeated itself again to a despairing and increasingly worrying effect. Seemingly not content with just one batting collapse, England’s lower middle order and tail disastrously disintegrated once again in a sensational 41-minute passage of play.  

Bairstow, in another unconvincing innings since his return to the side edged a wide Johnson delivery for 21, Tim Bresnan’s attempt to pull Lyon off the back foot only succeeded on him bottom edging the ball onto the stumps for a duck. As England cowardly kept giving their wickets away, the vast Australian crowd at the MCG became increasingly louder and louder, screaming their team on as wickets tumbled in rapid and often bemusing fashion. Stuart Broad edged a huge and very unnecessary drive to slip off the bowling of Lyon and in doing so failed to restore any confidence of his “All-rounder” status in the side. Pietersen, fast running out of partners tried to up the ante by attacking Lyon but found Ryan Harris on the boundary who took a brilliant steepling catch. Monty Panesar was last man out lbw for a duck, failing to keep out a fast and straight delivery from Johnson. In a demoralizing performance, lacking any courage, grit or mettle from England’s batsman, apart from Cook and Pietersen, a position of dominance had once again been feebly lost and the advantage gift wrapped like a late Christmas present, handed back to their opponents. The visitor’s last five wickets fell for just six runs in an embarrassing effort that has no doubt sealed another Australian success and a step closer to an impressive 5-0 whitewash by the home side.

With just 231 to chase for victory, neither David Warner nor Chris Rogers appeared to be in any difficulty as they negotiated the half hour they faced before the close of play, ending on 30 without loss. The hosts will be more than confident in chasing a further 201 on Sunday to go to Sydney with a second 5-0 whitewash in three Ashes series down under within their grasp. Any hope of an England victory rests on the fact that no team has ever successfully chased more than 183 in the final innings to win a Test at the MCG since the drop-in-pitches. However the pitch still remains good to bat on and if England are to pull off a miracle victory, they will have to bowl better than they have all tour to record their first test win since August. Even if England pull off the unthinkable, it’s hard to admit that they deserve anything from this match, let alone a victory, due to their dire batting performances.      

Alter Bridge - Fortress Review

Three years is a long time to wait for a new album from a band as active and as assiduous as Alter Bridge. After 2010's ground breaking "AB III" and their subsequent world tour, the band went their separate ways, involving themselves with new projects and collaborations with other musicians. Mark Tremonti released his long overdue but brilliant solo album "All I Was" last year, Myles Kennedy lent his vocal talents to Slash on the ex-GNR's latest effort and Scott Philips combined forces with members of Sevendust and Submersed on the super-group, Projected. However with the American foursome getting back together earlier this year and returning to more familiar ground, their fourth studio album, "Fortress" released by Roadrunner Records has finally hit the stores in the UK and without doubt has been worth the wait!    

With Michael "Elvis" Baskette returning to producing duties after overseeing their two previous albums "Blackbird" and "AB III," Alter Bridge have forged a near-perfect composition and formation of Heavy Metal and Hard Rock elements. These elements are united exquisitely with enchanting melodic and harmonious choruses, establishing "Fortress" as 2013's most important album. The 12-track collection expertly offers listeners a whole range of musical styles, flourishing from start to finish with Metal and Rock, early 90's Groove and Stoner Metal and modernised Hard Rock as well as brandishing Alter Bridge's now distinguished own style of passionate and emotional playing and larger than life choruses delivered with their all-American spirit hard into our ears. In a nutshell "Fortress" is Alter Bridge's definitive Metal album. The components have been existent since their debut album "One Day Remains" but not as explicitly expressed in their latest effort. "Fortress" is a 60-plus minute non-stop rock extravaganza; evoking the sort of rock out tunes that will knock you off your feet, you'll be singing to the top of your lungs and head-banging until you suffer a severe migraine! 

Commencing the album is "Cry Of Achilles" beginning with a flamenco influenced finger picking piece on a Nylon-stringed acoustic before brutally unleashing incendiary riffs and towering rhythms. It is a great progressive album starter and showcases some impressive playing from all four members. Its pretty clear after the 6-minute opener has concluded, Alter Bridge are constructing a castle rather than a fortress. Swiftly following is the album's first single "Addicted To Pain" with its heavy groove, hook laden chorus and fret burning solo it stands as a example of what's to come from "Fortress:" soaring vocals, diverse and thrilling riffs and energetic stadium filler songs. The album's two strongest tracks follow, "Bleed it Dry" and "Lover" with the former an uproar of dark betrayal and deep despair which rains in its emotive flair and breathes the Alter Bridge legacy of radio-friendly but uncompromising hard rock anthems to life. From then on "Fortress" steers on a full metal manifest, harbouring awesome riffing and unique but solid song structures that unite the heaviness of Metal and the charm of Classic Rock; "The Uninvited," "Peace is Broken," and "Farther than the sun" all prime examples of this. Kennedy's versatile and passionate voice reaches new heights on this record, unashamedly brandishing his four-octave tenor vocal range, enabling each track to be executed with complete conviction. Tremonti's skills on guitar just get better and better with his metallic dexterity on "Fortress" simply a dream to behold, showcasing not just his technical ability but also his expertise in harnessing the beauty within the song, note by note. Hell even the axeman gets a go on lead-singing duties in "Waters Rising." Philips on drums really steps up a notch with some awe-inspiring drum patterns that forcefully add to the powerful nature of the record. Brian Marshall on bass adds dynamic and complex grooves, proving his rhythmic influence and asserting his position as the backbone to the band.    

Through their three previously released albums, Alter Bridge have established their talented artistic skills of creating diverse and all-embracing rock music without having to rely on clichéd song formulas. From stepping out of the box and implementing innovative artistic segments and additional layers of creativeness, the band have modernized Rock and Metal styles and in doing so have almost established their own genre, confirming themselves as the definitive rock band of the 21st century. "Fortress" confirms AB'S spectacular impact on Modern Rock, a benchmark set from a unit consentient and fortified, musicians at the very peak of their powers composing music that will be remembered for years to come. As energetic and ingenious as peak-form Led Zeppelin, "Fortress" is a must for admirers of the Hard Rock and Metal scene.  

Stand out tracks: 

Cry of Achilles
Bleed it Dry
Lover
Peace is Broken


Addicted to Pain Video:

My Favourite Rock Albums of All Time

1. Alter Bridge - One Day Remains 2004

Former Creed members Mark Tremonti, Brian Marshal and Scott Philips founded Alter Bridge in 2003. Due to the demise of their previous band, fans were equally sceptical and enthusiastic of what the three could create without Scott Strapp, whom had spectacularly disintegrated down an egoistical and self-absorbed path due to the huge popularity and success of Creed. With the introduction of former Mayfield Four front man Myles Kennedy and a mutual vision of hard and alternative rock roots, the newly formed band hit the studio to contrive an out-and-out rock album minus the attitude and arrogance that had been apparent in their previous stardom. Released on August 10, 2004 via Wind-up Records, the 11-song record opens with "Find The Real," a heavy, hard rock monster of a song with its down tuned metal guitar riffs, catchy choruses and a brilliant guitar solo. The record commences with an instant classic, firmly distancing themselves from their Creed roots with a more aggressive and heavier sound. Continuing the heavy theme of the album, "One Day Remains", opens with a trail of harmonics linking together immaculately before unleashing fast paced, heavy driven verses and choruses and two impressive guitar solos from the ever majestic Mark Tremonti on lead guitar. Tremonti establishes himself as one of the most accomplished guitarists of modern times with his work on the album, not just in his astounding playing but also in his now instantly recognisable writing style. His playing reflects a new summit of sprightliness and excitement, purposefully unleashing his technical ability, something he was restrained from displaying in the days of Creed. Before the album was released the band made it perfectly clear that they didn't want to engineer the distinguished post-grunge sound of their former band and with that said this album goes beyond the Creed sound entirely. Embracing a vast range of sounds and styles, "Metalingus," without doubt the finest track on the album, invokes an opening that explicitly shouts out “Head bang you fuckers” with its ferocious drumming and outstanding guitar riff, it oozes 80s metal. The gorgeous and highly emotional "In loving Memory", an eminently sensitive track written about Tremonti`s late mother is remarkably honest and sentimental for a hard rock group to perform. Expertly written music and melodies are accompanied by the magnificent vocals of Myles Kennedy. Drawing parallels in voice with Chris Cornell and Jeff Buckley, Kennedy introduces a wonderful voice possessing a tenor vocal range that spans four octaves, superbly showcased on the haunting ballad, "Burn it down", and the epically over-the-top first single "Open your eyes", a true highlight of the progression of the band from the days of Creed with sustained focus behind the melody as well as the meaning of the songs being sang. Brian Marshall delivers a bass groove throughout the record that is filled with a thick driving undertone, muscling the force of the songs forward and pounding in your head. On bass he is probably the only man who can compliment Tremonti`s unique style. Scott Philip’s on drums, creates the powerful drive of the album and commends the band brilliantly and enumerates a great solidity to the four-piece. Clearly emphasised on the second single, "Broken Wings" as well as on tracks, "Down to my last", and "Watch your words", the feel of the togetherness and chemistry of the band really shine through. “One Day Remains” is a soaring, emotional modern rock masterpiece and comes at a time when the rock genre is longing for something new and vibrant to push it on again. Tremendous songs and melodies performed by a band that have found instant chemistry, possessing unbelievable talent have added a much-needed new sound to modern rock and fans of this richly entertaining and engrossing music genre should seriously take note of their presence. 

2.Jeff Buckley - Grace 1994

In August 1994, Jeff Buckley released his debut full-length album “Grace.” The son of fellow singer/songwriter Tim Buckley, mixed folk, jazz and alternative rock to unimaginable brilliance to create possibly the most touching and compassionate record ever released.  After over a decade of working as a session guitarist in Los Angeles, Buckley began amassing a small following due to his prominent focus on his own original material as well as frequent performances in New York. After signing with Columbia records, he assembled a band featuring Mick Grondahl on bass and Matt Johnson on drums and percussion and recorded “Grace” before going on tour around North America. Despite its impact at the time of its release far from impressive as it is perceived now, “Grace” introduced an extraordinary talent. Despite Buckley experiencing the difficulties in escaping the shadow of his late father, “Grace” acquainted audiences with a singularly artistic genius, furnished with a wealth of potential. The 11-track record is enthroned with moments of salient and seductive beauty, heavy influenced with its compositional cues from classic and psychedelic rock acts including Led Zeppelin and Pink Floyd and reflective of Buckley’s myriad of influences stretching from Joni Mitchell to Nusrat Fateh Ali Khan.  However the most distinguishable aspect of “Grace” is Buckley’s astonishing voice. Endowed with a tenor vocal range, between three and a half and four octaves, he made full use of this unique range reaching peaks of a high E at the climax of “So Real” and the album’s title track “Grace.”  His abnormal decision to sing high notes with his head voice, rather than in a falsetto and for sustained periods was at the time seen as an unfamiliar feature of a rock singer.  However his refreshing and rejuvenating vocals on “Grace” intensely provided a purposeful and sincere “stop you in your tracks” feel to listeners and marked him down as an artist to follow attentively. First track “Mojo Pin” depicts an equal balance of chaotic ferocity and inobrusive beauty and this deviation of irregular characteristics as well as exhilarating choruses and jangling chords are evident across the album, especially on tracks; “Grace”, “Dream Brother” and “Lover You Should Have Come Over. ” However the album peaks with mesmerising rocker “Eternal Life and the poignant cover of Leonard Cohen’s “Hallelujah,” two completely contrasting songs proving Buckley’s talent for angry rock songs as well as emotive ballads. Buckley’s powerful version of  “Hallelujah” is seen as his most applauded work in mainstream music and is probably the finest example of a cover song that is more associated and celebrated with it’s coverer than its original performer. His predilection of including covers on the album drew some listeners to complain about the excessive nature of their existence on the record but Buckley, like Johnny Cash possessed the ability to turn cover songs and make them their own, implementing their personal unique style on them and bestowing them to perfectly blend in with the rest of the record’s sound. Cohen’s lyrical talent is undeniable but Buckley’s intense passion and audible pain on “Hallelujah” make his version his own and providing it new life. Through “Grace,” Jeff Buckley showed incredible promise and potential and was anticipated to become the next big singer/songwriter of the 90’s. Had this prognosticate come true, Buckley would surely have become as efficacious as Bob Dylan, Paul Simon and Van Morrison. Instead, three years after the release of his debut album, Buckley drowned in the Wolf River Harder, Memphis, aged just 30.

3. Guns N' Roses - Appetite For Destruction 1987

Once in a generation, an album is released that changes the music world forever. A record that sticks two fingers up to the aristocracy and legitimately enjoys inflicting controversy and disruption throughout society, destroying everything in its path, including its own self. The Eighties saw a fair few bands release memorable rock albums; Bon Jovi “Slippery When Wet,” Van Halen “1984,” Ozzy Osbourne “Blizzard Of Ozz,” and Def Leppard “Hysteria.” However none of them captured the attention and limelight like “Appetite For Destruction.”  Released in 1987, Guns N’ Roses debut album was a monster record, showcasing a band far beyond a force of nature. If the technologies of the Internet had existed back then, it would be a fair estimate that mass communication would have imploded under their incredible popularity. Guns’ were beyond a collection of simple misfits with an adolescent and immature approach to life. They were five extremely skilled musicians  driven for fame, women and success, emphatic rebels and all held together by a troubled but equally brilliant lead singer. W Axl Rose, like most geniuses had an astounding array of issues and flaws. However his were so crippling and relentless, they perfectly illustrated what a single-minded, obstinate and abhorrent prick looks like. It was these hosts of problems that precisely define him, as the brain’s responsible for the greatest hard rock album of all time. “Appetite,” delved listeners into a booze-soaked, sexed up and smack addled tour of Sunset Strip and the LA rock underground. It is without doubt the most “Rock N’ Roll” album of its genre, exhibiting the clichéd traits of sex, drugs and rock n roll to the absolute max. The record captured Hard Rock in all its extravagant, reckless and preposterous glory. Full of anger and furious aggression, mainly down to Axl Rose furiously spitting out degrading tales of LA with sharp-tongued wit, “Appetite” was a compelling, addictive and uncompromising masterpiece, holding fixated teenagers across the globe hostage to its terrorising sense of belief. Throughout the album, Steven Adler’s thunderous drumming, Duff MacKagen’s solid and free flowing bass grooves, the masterly duelling guitar performances of Izzy Stradlin and Slash and Axl’s four octave eviscerating rock screech spectacularly transformed the hard rock movement of the eighties and in itself Guns N Roses became the envisage of classic rock. Despite heading up the rock scene along with their hair metal peers, Guns N’ Roses were completely opposite in both image and mood. Whilst Mötley Crüe and Poison were glam, Guns were grit. Whilst Bon Jovi were livin’ on a prayer, Axl and co were dancing with Mr Brownstone. When Def Leppard were pouring sugar on love, Guns’ were taking their credit cards to the liquor store for another bottle of Nightrain. With the release of “Appetite,” Guns’ were expected to become the Led Zeppelin of their generation. However 6 years after its release, they failed to live up to the prospect and the original line up was consigned to history. Despite this, “Appetite For Destruction” lives on as a memoir of the sleazy LA underground, full of prostitutes, dealers, dope friends and the escapism of the American dream. Widely regarded as the greatest rock album of all time, comprised of some of rock’s most popular anthems; “Welcome To The Jungle,” “Paradise City,” “Sweet Child O’ Mine,” “Appetite For Destruction” has become the most successful debut album of all time, selling in excess of 30 million copies worldwide.     

4. Pearl Jam - Ten 1992

Following the disbanding of previous group Mother Love Bone, bassist Jeff Ament and guitarist Stone Gossard enlisted drummer Dave Krusen, guitarist Mike McCready and surfer fanatic Eddie Vedder on vocals for a new project. Consisting of experimental instrumental jams, Pearl Jam developed incredible camaraderie and fluidity in their playing and with the addition of Vedder’s lyrics; the album sessions were completed within a month and “Ten” was completed. Released during the vanguard of the Seattle Grunge incursion in 1991, “Ten” whilst stagnant to begin with in shipping sales, soon caught the attention of young teenagers in their adolescent Grunge state and became the band’s most successful album release, reaching number two on the Billboard Chart and selling over 10 million copies. Despite competing with fellow Grunge band Nirvana, in a popularity contest they had little chance of winning, Pearl Jam produced a far superior and meritorious record, eclipsing anything Cobain and co could ever dream of exhibiting. Whilst Nirvana centred on Cobain’s broken dream, factoring a juvenile attitude that everything and everybody was against him, Pearl Jam shone the spotlight on society, concerning other people, not themselves. Despite not brandishing the cult of personality Nirvana showcased, Pearl Jam’s debut record was ultimately surpassing in every way  lyrically, technically and emotionally. “Ten” conveys an introspective narrative, an emotionally larger then life Roller coaster ride, producing roaring innovative guitar work, majestic drums and bass and wholehearted vocals. Tracks including “Once,” “Even Flow” the beautiful ballad “Release” and “Garden” showcase the record’s impressionistic lyrics, passionately delivered by Vedder. “Alive,” probably the album’s ultimate anthem, commences with a slow, methodical guitar intro before being dominated by Vedder’s distinct and melodic vocals and concluding with one of Rock’s most acclaimed and distinguished guitar solos. Though not one of the most popular albums within the Grunge movement, “Ten” certainly is however the finest record to have been derived from that era of music. A near – perfect effort that pushed the boundaries on emotionally charged rock in conventional music, “Ten” was instrumental in popularising alternative rock music into the mainstream, and widely considered as the most important album of the 1990’s. 

5.Led Zeppelin – Led Zeppelin 2 1969

During the late 60’s Led Zeppelin had become the biggest band on the planet. They had progressed to nothing short of a sensation with fans and critics alike with their phenomenal live shows, exaggerated arrogance and debauching off-stage antics that had erupted to legendary status. “Led Zeppelin II” released in 1969, emerged with a tighter, heavier and more polished effort than their debut release but still remained true as well as amplifying Jimmy Page’s musical vision. Mostly written and recorded in between touring commitments, the album introduces Robert Plant’s advanced assertion as a songwriter and gave birth to the Page-Plant writing partnership that would contribute the bulk of Led Zepp’s songs. “Led Zeppelin II” commences with a menacing riff comprising of “Whole Lotta Love” and from then on the album is nothing short of a masterpiece. Despite Page being the dominant instrumentalist in the band, throughout the record each member conveys effortlessly their unique talents as well as the impeccable chemistry between the foursome heavily flourishing. John Paul Jones’s soft keyboards and Plant’s tender voice on “Thank you” can only be described as pulchritudinous and the two-minute John Bonham drum solo featured on “Moby Dick” still to this day leaves the listener completely exhausted. Among the record’s most distinguished attributes are the avant-garde mid sections of certain songs such as “Heartbreaker” and “Whole Lotta Love” featuring some of the most advanced studio experimentation of the time. The band, along with engineer Eddie Kramer who had previously collaborated with Jimi Hendrix, were able to create mystical and unearthly sounds in the middle of accessible and rhythmic songs, something that had not been attempted before in mainstream rock and roll.  Despite Black Sabbath establishing the genre of heavy metal, “Led Zeppelin II” has been cited as the blueprint for heavy metal and hard rock that many bands have pursued. With a guitar infused riff, rather than a vocal chorus or a verse, defining the song’s signature and sound, Zeppelin have influenced a whole host of rock acts including Guns N Roses and Aerosmith. Since its release, the album has been acknowledged as one of the most decisive and influential rock records that has sold nearly 13 million copies worldwide. In a nutshell, “Led Zeppelin II” is 40 minutes of rock history, a fundamental listening experience that should not be missed by any fan of rock music. 

6 . Alice In Chains – Dirt 1991

Alice In Chains second studio album “Dirt” released in 1992 was the band’s defining record release and also their most successful. Focusing on themes such as depression, anger, war and drug use, the Seattle-based band rose to International fame as part of the grunge movement in the early 1990’s alongside bands such as Soundgarden, Pearl Jam and Nirvana. Prognostic in its intent and appeal “Dirt” is a major artistic statement delivering a musical masterpiece and producing one of the most harrowing concept albums ever recorded. Even considering its dark nature, “Dirt” is heinously unadorned, similarly resembling the haunted landscape of its cover art and holding out no sense of utopia or belief for its protagonists. (Aside from “Rooster,” a survival story in tribute to guitarist Jerry Cantrell’s Vietnam-vet father) However “Dirt” compensates its demeaning themes and values by the genuineness of its self-revelation and acute focus of its music and direction. Despite embodied in the bracket of grunge bands of their generation, Alice In Chains infused metal and punk qualities in their music, which was embraced by fans of all three genres. Marketed as the most metal of the Seattle bands, Alice In Chains, whilst refusing to acknowledge any genre labels thrown their way, instead churned out some the finest alternative metal songs including “Would,” “Down in a Hole” and “Them Bones.” Technical abilities of the members shine throughout the record, contributing almost equally to the aptitude and dynamism of the music experience. However, the highest approval centres on Layne Staley’s and Jerry Cantrell’s combination to create such a surreal and disturbing atmosphere on the album with possibly one of the greatest ever examples of two singers harmonising perfectly together to create a discomforting envisage of pain and suffering. “Dirt,” spawned five top 30 singles and remained in the charts for over a year and is widely considered as one of the greatest albums of the 90’s. 

7. Metallica – Ride The Lightening 1985

Released in July 1984, “Ride The Lightening” was Metallica’s second album release and the first to feature new lead guitarist Kirk Hammett after the release of previous axe wielder Dave Mustaine. Despite a music war that still to this day rages on as to what album is better; “Master of Puppets” or “Ride The Lightening” the former conquers the bands third release due to Ride The Lightning’s ability to induce melody and atmosphere into their Thrash attire. Aggressively expanding their compositional technique and range of expression as well as distinguishing a viridity between every track, every musical experiment and composition on the album succeeds mightily.    The record was a huge step for Metallica after their first album “Kill em’ all” and firmly established the band as the true Four Horsemen of Metal. Whilst sounding a little premature on their debut, Metallica stepped it up in their following release, including eloquently written and catchier songs as well as delivering a much more precise and highly motivated record that would secure their status as one of Metal’s biggest and most important bands. The record commences with “Fight Fire With Fire,” freely displaying the band’s evolved and elaborate concentration on delivering a more harmonically complex style of song writing. Throughout the album, the bands individual and combined brilliance is evident especially in the Hemingway novel inspired “For Whom The Bells Toll,” the energetic thrashers “Trapped Under Ice,” and “Ride The Lightening,” the astounding instrumental “The Call of Ktulu” and of course the haunting power ballad “Fade To Black.” Beginning with an acoustic-driven minor key serenade, “Fade To Black” then proceeds to get slashed open by euphoric distorted guitars and climaxes with a fleeting, yet emotional guitar solo. “Ride The Lightening” showcases Metallica at their absolute brilliance, brandishing ambition and an appetite that Heavy Metal had not experienced since the introduction of Sabbath. Featuring attributes such as maturity, melody and above all, musical intelligence, “Ride The Lightening” delivered a broader metal scope for the band as well as developing the capacity and dimension of Thrash Metal forever.   

8. Pink Floyd – Dark Side of The Moon 1973

One of Britain’s most endearing and successful rock bands, Pink Floyd had already enjoyed relative success during the mid-sixties with their experimental mix of psychedelic and progressive folk rock. However in 1973 with the release of their eighth studio album, “Dark Side of The Moon” Pink Floyd achieved incredible commercial and critical prosperity, firmly announcing their popularity on the music scene, both sides of the Atlantic. The concept album is one of the most commercially successful rock albums of all time. When it peaked at Number 1 in the US, it remained on the Billboard chart for over fourteen years and sold in excess of 40 million copies worldwide. In Britain, the album reached number 2 and spent 364 weeks in the UK chart. Building on experiments the band had attempted in previous shows and recordings,  “Dark Side of The Moon” combines themes and emotions including greed, insanity and conflict as well passionately exploring the nature of human experience. Using some of the most advanced recording equipment and techniques available at the time, the album displayed what could be eloquently achieved with four intelligent musicians, utilizing electronic instruments and wielding an armoury of sound effects with confident mastery and finesse. Whether its “Breathe,” “Money,” “Time,” or “Brain Damage,” the tracks on “Dark Side of The Moon” disseminate a record with textual and conceptual richness, demanding the listener’s involvement in their philosophical and abstract world. Frequently ranked as one of the greatest albums of all time, “Dark Side of The Moon” has also been a major influence on bands such as Tool, Dreamthreater and Queensrÿche. 

9. Red Hot Chili Peppers – Blood Sugar Sex Magik 1991

During the eighties, The Red Hot Chili Peppers had contrived their own brand of alternative pop, punk and funk metal/rock. Confidentially progressing this contemporary and increasingly popular genre through albums such as, “Freaky Styley,” “The Uplift Mofo Party Plan” and “Mothers Milk” it wasn't until “Blood Sugar Sex Magik,” under legendary music producer Rick Rubin, that the Chili’s finally found a sound that both blended their own funk fusion as well as introducing them to worldwide popularity and critical acclaim. The album whilst integrating their typical funk style, focused more on structure and melodically driven songs, shifting away from the heavy distorted guitar riffs and slap bass techniques of previous album, “Mothers Milk,” “Blood Sugar” focused more on traditional and symphonic playing. The record expanded the Chili Peppers' musical horizons and emotional range, blending soul-funk and a heavy influenced blue’s style with a raw and powerful tone, creating an explosive formula that has yet to be matched or even duplicated by any band since. Despite the release of the album in conjunction with the explosion of Grunge music that captivated teenagers in the early 90’s, “Blood Sugar” served as a step away from this newfangled musical revolution, proving to be a fundamental foundation for alternative rock and in the process soaring the band to unprecedented heights of success. Tracks including, “The Power of Equality,” “Suck My Kiss,” “Give It Away,” and the emotional ballads “I could have lied,” and “Under the Bridge,” fully emphasise their unparallel dexterity of genre bending as well as defining “Blood Sugar” as a phenomenal record and a true advancement of modern rock.  

10. Black Sabbath - Black Sabbath 1970

Released in January 1970, Black Sabbath’s official debut album was a monumental record release that consummated the development of 60’s post Led Zepp hard rock and perfected a whole new rock sound rock for a generation.  Lauded by many as perhaps the first true heavy metal album, Black Sabbath’s introduction into the music sphere has been credited for pioneering such music genres including “doom metal,” “death metal,” and “Stoner rock.”  Between four ordinary men from the Black Country; Tony Iommi, Geezer Butler, Bill Ward and Ozzy Osbourne, Sabbath (formally know as “Earth”) tore up the rule book of rock n roll and in their own druggy state of consciousness, released a record containing some of metal’s most legendary songs including “Black Sabbath,” “The Wizard,” and “NIB.” Transfiguring blues and psychedelic rock into something more sinister and uglier, Sabbath’s characteristics of evil, paganism and cult worshipping accompanied their simple but incredibly effective use of pentatonic blues scales and swift power chords to create the 70’s most defining rock album.